Around the world, we've collected stories of great human tragedy and sin, and the consequences of vanity, cruelty, and neglect. The Holocaust is no exception and neither are the cruelties of the Roman Empire which fell after the Resurrection of Jesus Christ. Human groups have engaged in savage behaviors and have seen the demise of the spirit in various forms. Add to this insult the malady of eco-pollution which sees the devastation of animal habitats. Yes, the reality of darkness looms, and perhaps a 'collector' of these regrets is Pyro, an arsonist and maniac, who might comment on the insanity of the Auschwitz Nazi death-camps of World War II.

A good evil-doer understands the 'fun' of mischief and mayhem, and Pyro has been responsible for the burning of a major office-building in Seattle, Washington (USA), a prison in Alaska, and even a racetrack in Germany. Pyro wields fire the same way a chef wields flour --- with great flair. Pyro is therefore a messenger of darkness (and arguably Hell itself). Fire is chaotic and unpredictable, yet it lives and breathes almost as if it's a 'blanket' from a region of evil. Unlike water which supports life, fire terrorizes the motion of nature. Pyro is our diplomatic 'collector' of the stories of the great saints/martyrs of world history. Pyro stands to remind us that pain is as real as resilience. We hear the breath of the suffering in the flames of Pyro's blanketing flame-thrower.

A historian relates the experiences of countless refugees being transported like cattle on a train constructed by an evil regime. We remember the dark smoke created by Pyro's flame-thrower and the undeniability of the complete gloom created by chaos and hysteria. We think about 9/11, the crucifixion of Jesus, the saintliness of Moses as he led the Jews out of the clutches of the Pharaohs, and the unheard cries of countless Hindus and Muslims during India's devastating post-Independence partition. Yes, Pyro is always there to tell us about the weight of fire as the spirits of creation 'journey' towards enlightenment.

A great artist in the era of the Ancient World offered us images of slaves and gladiators being killed or persecuted in the name of power or even religious vanities. There were no rescuers or witnesses to these barbarous incidents, and the only towers of the heavens that were visible were veiled in tears. Pyro uses his flame-thrower to ominously suggest that the 'heat' of the flames of Hell are as 'real' as the winds and waters of heaven. To behold Pyro is to recognize the gravity of 'witnessing' turbulence itself. The history of the saints (throughout world history) represents our appreciation of the endurance of the human 'story' as well as the 'magic' of the spirit of creation.

A terrible 1800s New York City pit-contest between two bulldogs was waged for gamblers and drunken sailors and profiteers. This was an exhibition of animal cruelty, and the unwitting animals could do nothing but 'serve' the fancy of their human 'masters.' Why do we insist that gratifying the instincts justifies the consequences of moral apathy? Pyro might note that these 'animal-contests' symbolized a civilization 'will' to entreat base yearnings for cheap thrills, drunken revelry, and blithe obesity. Would Pyro offer us a grilled-pork 'emperor' meal with his flame-thrower, using it as a 'metaphysical hellraiser cooking-tool' to remind us of the unsightliness of juvenile 'imagination'? Is this even imagination? What does Pyro make of all this...filth and fury?

The iconic sci-fi film-franchise Planet of the Apes presents colorful and stark images of defiant intelligent apes vying with politically-minded human beings for control over the planets. These apes stand in opposition to human civilization vanities and sometimes succumb themselves to the flaws of nature itself and end up engaging in civil wars for more 'democratic' forms of 'monkey-governance.' We see our own histories in the experiences of these apes, as we reflect on 9/11, the Los Angeles Race Riots, the Ku Klux Klan, political impeachments, and the two great World Wars [1914, 1939]. Pyro suggests that the journey of the saints is one of great self-awareness and humiliation; atheists become more 'bold' and spiritualism is tested by the heat of pure vanity.

A desperate housewife in modern-day America discovers her husband is cheating on her and decides to one day walk into a nightclub to find a lover. She meets a strange handsome man who offers to take her back to his loft to show her his science experiments, and when she goes with him, he throws her into one of his 'guinea-pig rooms' and covers her face with a metallic wired material to see if electroshocks will stimulate her 'creativity.' She has become this mad scientist's unwitting 'slave.' She is a pure saint. Pyro might say she's better off cooked in fire than serving as an ongoing 'witness' of these deranged 'science games.'

Around the world, religions tell us of the value of courage and faith and resilience. When we endure suffering, we feel more 'alive.' We also reflect on the sentimentality of peace and happiness. We realize we are essentially 'thinking beings.' There are physically attractive individuals (e.g., fashion-models) and physically average-looking individuals (e.g., obese women). These women are treated differently and sometimes even 'think' very differently. The Christian Bible reminds us of the dangers of envy and arrogance; of complacency and immoral curiosity. We tell stories of foolishness and pride and relate great media-scandals and community corruption. Does Pyro think his flame-thrower 'blankets' all this 'consciousness' and therefore 'blinds' us somehow from the perception of glorious warmth?

An animation-artist relates the universe of great galactic-warriors and 'princes' engaging in symbolic discussions about technology, military, and science. We see characterizations of castles, spaceships, fortresses, and moon colonies. These mini-societies symbolize our curiosity about social coordination and imagination harnessing. Where do the saints and martyrs fit into these 'intellectual cubicals'? How do we record the experience of the saints/witnesses of this great mobilization of mental energy? Pyro suggests that the history of the saints serves to throw 'cold water' on our vanities and arrogance towards pure human destiny.

A figure sits in a cage in a warehouse owned by Pyro. Her name is Jay-Bird, and she symbolizes the dynamic motility of the human body and therefore the soul. Jay-Bird is a reminder of the endurance of life in the face of the reality of fear, pain, death, oppression, betrayal, and arrogance. Jay-Bird is Pyro's special 'muse' or perhaps even a 'siren.' Jay-Bird is tied up but is free to move around in her special unique beauty...so she can complement Pyro's 'message' that vitality is leveraged by the dire necessity of basic patience.

PYRO: Existence is a gamble...
GOD: Your flame-thrower is an 'article of doom.'
PYRO: The fires of Hell are as real as the waves of heaven!
GOD: Really? I hear the voices of the saints reminding us of faith.
PYRO: Faith is always tested by the forces of turbulence...
GOD: The real challenge is to measure courage against humility.
PYRO: Life is treated like a 'toy.'
GOD: Your mission is not to treat your flame-thrower like a 'toy.'
PYRO: I only respond to the 'forces' of darkness...
GOD: If you do not serve the reality of vitality, you're merely a minion.
PYRO: I can not serve two masters!
GOD: You must serve your conscience...your imagination about sanity.
PYRO: Fire is crazy!
GOD: Life is not crazy...
PYRO: The history of the saints are found in the flames of a campfire?
GOD: Yes! It's storytellers who remind us of the joys of destiny.
PYRO: What about humans who are attacked by sharks and rabid animals?
GOD: What about animals who are destroyed by eco-pollution?
PYRO: Perhaps the key to vitality is the mediation of 'spiritual moods.'
GOD: I love those toy 'mood-rings' you find in various novelty-stores these days!
PYRO: Historians might succeed in coordinating horror (Holocaust) with romance (Halloween).
GOD: Perhaps art will restore our sense of...aesthetics.

American folklore and films about deranged/deformed comic book and horror-film avatars/characters may serve as reminders of why we might 're-present' stories/ideas about strangeness and suffering as symbolic of faith rather than persecution.

Alongside a great U.S. city was an idyllic if somewhat 'separated' forest. In this forest there dwelt a rumored 'being' named Leatherface, a chainsaw-wielding cannibal, but the reports were entirely unconfirmed. Many people liked to hike through this forest, including one beautiful working-girl named Alexandra.

Alexandra was a patriotic civil servant/bureaucrat who wanted to break out of the chains of work-life by hiking through that idyllic forest on the outskirts of the city, which she called the Gray Woods. Alexandra purchased some rugged clothing including jeans and set out to do an amateur 'search' for the enigmatic Leatherface who was really a sort of Bigfoot. Alexandra was very excited.

An artist made a rendering of this cryptic chainsaw-wielding cannibal Leatherface but gave him mythic proportions and a cosmic outfit and re-named him "Magneto" since the avatar could manipulate magnetism and therefore hurl that heavy-metal chainsaw. This artist/cartoonist suggested that if Leatherface really did live in that city-forest (the 'Gray Woods'), then most likely the 'creature' would inhabit the 'aura' of a more 'mystical' being such as Magneto. Alexandra saw these drawings and became even more fascinated for her 'vacation journey-quest.'

As Alexandra prepared to head out into the Gray Woods, she met a strange and intriguing woman named Daisy Ridley who insisted that no amateur should go questing for the cryptic Leatherface. Daisy explained that Leatherface was a modern-day 'Bigfoot' and deserved respect and that only qualified hunters such as herself should go questing for the creature-man. Daisy further explained that Leatherface was a sort of guardsman or guardian or gate-keeper who kept the spirit-memories of the dead saints of world history (such as Joan of Arc and Spartacus and the Man in the Iron Mask) and those who quested for Leatherface would have to be vigilant 'priests' of such mystical notions of the afterlife. Alexandra noted that Daisy chose to dress in rugged hiking gear and UV-sunglasses and traveled with her trusty wolf-dogs Nanook and Alas.

Alexandra chose not to heed Daisy's omen/advice and proceeded to quest after the creature-man Leatherface in the Gray Woods. Alexandra arrived at a patch in the forest illuminated by some godly sunlight but felt an eerie aura around the area. It soon dawned on her that this was where Leatherface was waiting to find some overly-curious journeyperson foolishly trying to 'catch' him. Leatherface caught Alexandra instead.

ALEXANDRA: Why did you tie me up in this shed?
LEATHERFACE: You foolishly tried to find me...
ALEXANDRA: I'm just a simple city-girl.
LEATHERFACE: You're my witness now!
ALEXANDRA: I have no intention to disturb you.
LEATHERFACE: I won't kill you...
ALEXANDRA: That's very kind of you!
LEATHERFACE: You must however listen to my words.
ALEXANDRA: You have a prophecy/story?
LEATHERFACE: My message concerns the history of the saints and Pyro (Marvel Comics)?
ALEXANDRA: Saints? Pyro? I don't understand.
LEATHERFACE: Pyro is an avatar gatekeeper of the purgatory of the saints, and I worship him!
ALEXANDRA: Why do you want me to know this?
LEATHERFACE: I want you to tell people in the city about me...

Alexandra listened to the creature-man Leatherface and promised to relay his 'testimony' to the people of the city. Alexandra realized that Leatherface wanted the whole world to know that this fictional comic book avatar Pyro (Marvel Comics), who wielded a symbolic fiery flame-thrower, represented contemplation of sainthood and the suffering of martyrs, since the flames of fire signified intimations of hell and purgatory. Leatherface wanted Alexandra to understand that Pyro (Marvel Comics) served as an 'angel' or even 'siren' of human resilience and must therefore be 'honored' as a diplomat of the 'journey' of mankind and that overly-curious people should read about Pyro rather than questing to understand why Leatherface inhabited the Gray Woods. Leatherface concluded his messages to Alexandra and then prepared to escort her out of the forest. Alexandra noted that Leatherface wore a suit and a mask made out of real skin!

Alexandra returned to the city and relayed her tale to journalists who were very intrigued by her strange testimony/claims. The artist who liked casting Leatherface as "Magneto" decided to use Alexandra's testimony to pen some creative renditions of the chainsaw-wielding creature-man and placed him in an eerie barn-like building filled with jars of human organs and foods. Alexandra's testimony gave Leatherface newfound art-world proportions, and soon comic book artists wanted to re-present him as a new age Frankenstein, but a 'monster' of surprisingly educational 'qualities.'

A toy-maker decided use the inspiration from these new Leatherface-comics to design a new series of miniature metallic robot-transforming toys that shape-shifted into tiny compact audio cassettes which he referred to as the Leatherface Trophies. These 'trophies' apparently represented what Leatherface might keep in his shed/barn as handcrafted toys which would signify why the creature-man was interested in living right outside the city. These 'Leatherface Trophies' reflected a human appreciation of the merging of technology and spiritual omens/prophecies in this modern age of communications, tech-toys, tools/gadgets, and 'relics.'

A Texas sheriff named Matt who was tracking Leatherface read about Alexandra's strange testimony and the artworks of the "Magneto" cartoonist as well as the compact-cassette relic-line toymaker who cast the creature-man as a modern-day 'anti-hero.' Matt wasn't interested in vanity, celebrity, or magazine ads about Leatherface but rather wanted simply to apprehend him and put him in a jail cell for psychological analysis. Matt was an 'old-school' lawman who wasn't impressed by new age media. Unlike the daring Daisy Ridley, Matt wanted to see Leatherface in chains. Alexandra never met Daisy Ridley again and continued to wonder what happened to her. Matt meanwhile continued his quest to bring in Leatherface to civilization.

Alexandra showed journalists a photo she at first decided not to reveal. It was a photo Leatherface took of the two of them by a tree in the Gray Woods. The photo was taken by a timer-camera Leatherface kept, and Leatherface dressed up in a red-shirt and apron for the photo and carried his characteristic chainsaw and wore his characteristic skin-mask. Alexandra explained that this photo suggested that Leatherface didn't want to be 'discovered' and that the fanatical Texan sheriff Matt should not be permitted to liberally go hunting for the creature-man. The journalists who saw Alexandra's photo decided it was merely another piece of evidence that all kinds of Leatherface gossip was only conducive to pedestrian energy, so they chose not to 'warn' the Texan sheriff Matt.

As Matt prepared to set out for the Gray Woods to go hunting for Leatherface, he took a photo of himself and his family in a courtroom and used the photo to send the message that he'd stop at nothing to bring Leatherface into the light of civilization. As Matt set out on his 'worldly hunt,' Alexandra worried about what all this 'hysterical press' would do to the 'metaphysical aura' of the creature-man himself. Alexandra wrote in her journal, "Leatherface should remind us that the experience of derangement, deformity, and devastation represents humanity's contemplation of suffering and faith and not celebrity or politics; we should therefore heed Leatherface's warning to resist the worldly temptation to go questing after him and instead listen to his suggestion to understand the spiritual modern value/symbolism of the purgatory-avatar Pyro (Marvel Comics)."

After Alexandra delivered her convincing message, the "Magneto" cartoonist decided to pen a series of Leatherface-comics designed to present stories about how the creature-man of the Gray Woods served as a gate-keeper of the message of martyrdom and suffering and why we should look to guardians of doom to appreciate the metaphysical symbolism of faith itself --- rather than the vainglorious totem of exhibitionism. This "Magneto" cartoonist won the Nobel Prize in Literature...and Alexandra felt like she had honored the wishes/dreams of the creature-man of the Gray Woods.

GOD: Alexandra has done her duty...
SATAN: I wonder what happened to Daisy Ridley!
GOD: She was cast in a Star Wars film.
SATAN: Well, you can't stop the 'train' of celebrity.
GOD: However, Leatherface just might be afforded due privacy.
SATAN: Perhaps that Nobel Prize recognition will remind people of civil rights.
GOD: Is Leatherface truly a 'guardian' of the message of martyrdom?
SATAN: Well, he's certainly odd enough to be likened to Quasimodo.
GOD: I suppose Quasimodo was a messenger of martyrdom as well...
SATAN: In other words, Alexandra was something of a 'nurse.'
GOD: It seems that the Texan sheriff Matt will no longer hunt for Leatherface.
SATAN: Yes, there's too much media-spotlight on the metaphysics of the creature-man.
GOD: Perhaps Americans love horror-tales/comics because they're curious about civil rights!
SATAN: Yes; the African-American horror-movie Tales from the Hood symbolizes democracy.
GOD: Pyro (Marvel Comics) should gain some nice social attention from all this 'media-hoopla.'
SATAN: Why not?
GOD: Maybe there should be more movies about guardians of civilization...
SATAN: Yes, more films like Darkman, The Omen, and Pet Sematary.

As we think about natural environments (e.g., Thar Desert of Rajasthan), we might consider why space-storytelling reminds us of the 'strength-metaphysics' of saints/martyrs. This vignette was inspired by the film Taste of Cherry.

====

A red desert somewhere in the East stretches across the horizon and invites valiant soldiers and priests and crusaders to contemplate its spiritual significance/symbolism. This red desert finds two warlocks watching over a handful of soldiers and one idealistic female Olympian from America seeking to mediate on the splendor of Mother Nature. These two warlocks are a demonic knight named Alas and an eerie Devil's Advocate named Mister Sinister. The red desert becomes an arena for great intrigue. Alas and Sinister talk about the history of the saints as it is 'painted' in this red desert.

ALAS: This red desert carries the echoes of the saints...
SINISTER: The desert is red like blood and reminds me of suffering!
ALAS: The martyrs and the saints are host to these soldiers and the female Olympian.
SINISTER: The Olympian is Mary Decker and the soldiers are Cossacks.
ALAS: Decker is curious about the expanse of Mother Nature.
SINISTER: The Cossacks want to understand/appreciate the value of sand!
ALAS: There is infinite life held in the memories kept by this red desert.
SINISTER: The Cossacks worry about finding some enigmatic 'face of darkness.'
ALAS: The red desert should offer some message of courage!
SINISTER: Decker and Cossacks are fascinated by the image of eternity...and doom.
ALAS: What's the significance of an athlete and soldiers seeking nirvana in a red desert?
SINISTER: Blood of course; there's nothing but blood in the echoes of the saints/martyrs.
ALAS: I think of the Marvel Comics super-villain Pyro, an arsonist and hellraiser.
SINISTER: Yes, the flames of Pyro remind us of the shrieks of those in purgatory.
ALAS: Pyro is like the AntiChrist, bringing us omens of faith in tribulation!
SINISTER: We see the faces of angelic women in the flames of fire, in the charms of Pyro.
ALAS: The red desert offers Decker and Cossacks a 'memory' of the dangers of perdition.
SINISTER: One should never be dishonest about conflagration.

As the Cossacks wandered around in that red desert that Alas and Sinister evaluated/discussed, they seemed to naturally fulfill the prophecies that Sinister and Alas outlined (regarding the discoveries found in the red desert). The Cossacks contemplated eternity and doom and heard the whispering voices of the martyrs/saints which seemed to be somehow imprinted onto the wispy sands blowing in the wind of the red desert. The Cossacks wondered if what they were seeing was some kind of nirvana...or hell.

As Mary Decker likewise combed that same red desert, she thought about her dismaying disappointment at the Summer Olympics, as she tried in vain to garner a gold-medal for her beloved nation, America. Decker stared out into the sands of that red desert and heard the voices of the saints, but she also started intimating the realistic 'face of darkness' somehow hidden in the sand of the red desert. Decker wondered if the only dividing-line between heroism and failure, between achievement and futility, was something like the shaky-leaf of faith itself. Was Sinister correct? Did the red desert hide some enigmatic 'feature' of darkness? Was Alas right? Did the red desert contain some hidden message about the illusion of eternity?

After Decker and the Cossacks departed from that iconic red desert, the metaphysical spirit of Pyro could be felt floating around that same red desert with his ominous flame-thrower, using the fiery waves/flames of fire itself to create some deep aura of life and death. Pyro was the ultimate messenger of martyrdom, since fire was an element of complete mystery, unlike water which would reliably provide life. Pyro despised the Biblical tale of Noah's apocalyptic flood and instead preferred the haunting prophecies of fire...and Hell.

ALAS: Pyro is the perfect 'anti-hero.'
SINISTER: He reminds me of Benedict Arnold.
ALAS: Pyro controls fire to serve as a 'diplomat' of uncertainty.
SINISTER: We might think of Holy Water when we meditate on sainthood/martyrdom.
ALAS: Yet, we think of Pyro's fiery-flames when we want to contemplate the chaos of fate.
SINISTER: Perhaps water 'keeps' the spirits of the saints, while fire 'possesses' the memories of martyrs!
ALAS: In any case, that red desert Decker and Cossacks explored signifies a meditation on nature.
SINISTER: In the arenas of nature, we find the splendor of imagination...
ALAS: There should be a Comparative Literature course at Yale on the 'metaphysics' of avatars.
SINISTER: Pyro is an ideal 'mysticism-avatar.'
ALAS: Perhaps we should retreat from this ominous red desert and instead look to the haunted forests!
SINISTER: The forests of the Pine Barrens of New Jersey seem to contain the voices of cryptic spirits.
ALAS: For example, the Jersey Devil and Dark Phoenix are two 'beings' said to occupy those forests.
SINISTER: Let us conclude then that the red desert is an environment for eternity-complications.
ALAS: Yes, there's something downright complex about the color red...
SINISTER: Let's watch the crime-shocking film Red Dragon (Anthony Hopkins) on Netflix.

This is an exchange between Thrust and Vertigo as they witness an iconic fight between Wolverine and Sabretooth in Siberia. The fight reminds them of the 'resilience' of blood and Mister Sinister's suggestion that Pyro is a messenger of passion.

====
A robot gate-keeper of the underworld named Thrust who could transform into a red jet-fighter was observing a powerful battle between the two super-mutants --- Wolverine and Sabretooth --- in a snowy field in Siberia. Thrust believed in the complexities of militancy-psychology which is what drew him to the Wolverine-Sabretooth fight. Thrust was a diplomat of the drama of contentiousness.

Another gate-keeper of the underworld was a psychic-hallucination sorceress named Vertigo who could use mental-warping waves to literally freeze people in their complacency. Vertigo was a terrorist and believed in the general psychological intrigue of competitive behaviors, which is what drew her to the Wolverine-Sabretooth fight. Vertigo was a diplomat of the contours of courage.

THRUST: Mister Sinister explained to us that Pyro is a 'siren' of martyrdom.
VERTIGO: Yes, Pyro's flames remind us of the volatility of faith itself.
THRUST: What drew you to this Wolverine-Sabretooth fight in Siberia?
VERTIGO: I'd wager the same thing that lured you --- the drama of passion!
THRUST: Indeed; a Wolverine-Sabretooth fight reminds me of the movie K2.
VERTIGO: Yes, that's an exciting snow-climbing film, filled with images of courage.
THRUST: Well, we'll see which way this Wolverine-Sabretooth fight goes in Siberia!
VERTIGO: I wonder what Pyro would say about a Wolverine-Sabretooth fight in Chicago.
THRUST: Yes, Chicago may be host to a great urban conflagration.
VERTIGO: Just imagine a city-wide fire in Chicago in the time of Al Capone...
THRUST: This Wolverine-Sabretooth fight in Siberia symbolizes general 'muscular intrigue.'
VERTIGO: I'm glad we're not witnessing a simultaneous hellfire in Chicago...

Wolverine and Sabretooth were now engaged in hand-to-hand combat in Siberia. Wolverine used his metallic knuckle-blades to shear away at Sabretooth's mane and beast-like body, creating claw-marks across his chest and scalp. Sabretooth used his ravenous ghoulish claws to rip away at Wolverine's calf and arm muscles, and drawing out some blood. Wolverine was more efficient, while Sabretooth was more wild. As the blood of both 'man-creatures' dripped onto the cold white snow of Siberia, Thrust and Vertigo remarked, "We should get on Twitter and post something such as, 'President Trump would root for Wolverine, since he cares a lot about general martial focus!'." As the fight continued for two more hours, finally Wolverine prevailed out of sheer endurance, and Sabretooth fled. The two man-creatures were both completely exhausted and somewhat bloody, vowing to kill each other the next time they met.

THRUST: It seems Wolverine has won this battle...
VERTIGO: It was a dramatic combat!
THRUST: Wolverine deserves the trophy.
VERTIGO: Are you going to present him with a trophy?
THRUST: I'm certainly going to congratulate him.
VERTIGO: Sabretooth is a real wild-man.
THRUST: Yes, Sabretooth reminds me of Red Dragon or something.
VERTIGO: Yes, I wonder what Mister Sinister would say about Wolverine...
THRUST: I'd imagine he'd say, "Wolverine is the opposite of Pyro."
VERTIGO: I agree; Pyro is all about the flames of anarchy.
THRUST: Yes, while Wolverine is about the focus involved with courage.
VERTIGO: This Wolverine-Sabretooth fight in Siberia was oddly calming.
THRUST: Well, Pyro might remind us that fighting is like breathing!
VERTIGO: Sure; enduring a fight is like 'becoming' a saint.
THRUST: Wolverine is the saint for today...
VERTIGO: This battle will be recorded in the annals of the underworld.

Thrust and Vertigo concluded that this engaging Wolverine-Sabretooth fight in Siberia beckoned notions about the quality of resilience and the drama of battle. They decided to tell Mister Sinister about the battle and suggest to him that Wolverine might be a great debater who could argue with Pyro about the contours of martyrdom as they refer to focus, obsession, rage, wrath, power, self-control, and of course, primalism. Thrust and Vertigo also decided to start courting a relationship, convinced they were equally-passionate about strength...and drama in general. Thrust decided to encourage Wolverine to entertain a 'purgatory debate' with the 'martyrdom-diplomat' Pyro. What would Mister Sinister say?

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